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Slamp devotes itself to decorative design lamps, capturing the most current trends, drawing on the natural world, on architectonic, sartorial virtuosity and on artistic developments, transforming them into luminous objects, which are both suggestive and versatile. This is thanks to the use of a new generation of materials and special manual assembly of parts that, once put together, give life to a luxurious, figurative panorama.

From 1994 to the present: Collaborations, Recognition, and the most Significant Moments of the Brand’s History.

Collaboration with Montblanc
The collaboration with Montblanc that leads to Overlay: the conception of the perfect writing lamp
Montblanc and Slamp both believe that an inspirational design object’s beauty should envelop, creating not only suggestive attraction but positive, non-invasive interaction, qualities that define both of their identities. This belief leads to their first collaboration, Overlay, “the perfect writing lamp”, designed by Italian duo, Analogia Project. The desk lamp was specifically designed to seamlessly combine with the iconic Montblanc Meisterstück Le Grand writing instrument. The collection is unveiled during Milan’s Fuorisalone in an exclusive window installation in Montblanc’s elegant boutique on Via Montenapoleone, and simultaneously in Slamp’s Euroluce exhibition space.
Light of Other Worlds
Light of Other Worlds and The Experience of Light: from the performance to the round table
The artistic and intellectual liaison that has united Slamp and Robert Wilson since 2016 converges once more during this year’s Euroluce, as Wilson is entrusted with designing the exhibition space. Light of Other Worlds” is is a flux of transportive stations, each a unique, intimate perspective of our newest lighting collections, including Cordoba designed by Daniel Libeskind, as design, music and architectural forms combine to offer an enveloping space. All of the new collections’ designers, and Wilson himself, take part in a round table discussion, “The Experience of Light in Art, Design and Architecture”, moderated by Wallpaper Magazine founder Tony Chambers, who describes the round table as, “one of the most exceptional I have ever led in my career, with one of the most important groups of participants”.
Slamp Tube is Back
The Slamp Tube is Back: Studio Job’s ode to the 90’s masterpiece
Almost a quarter of a century after the Tube’s iconographic inception, the artistic duo Job Smeets and Nynke Tynagel, of Studio Job, write the next chapter of the Slamp masterpiece. The collection of 7 themes derive their iconographic grammar from Dadaism, narrating the poetic aura, history and daring decorative concepts that define the brand’s icon. “The Lightning Archives of Studio Job” collection is launched during Milan’s Salone del Mobile, both in Slamp’s Euroluce exhibition space as well as in international influencer Rossana Orlandi’s gallery.
The Rio Olympics
The Rio Olympics: Slamp represents Made in Italy in Brazil
Slamp’s road to taking its design further on the international stage includes their presence inside the breathtaking Casa Italia, designated to interviewing the Italian athletes and other events by Advisor to the Minister, Matteo Renzi, along with other organizing Italian institutions. Chantal, La Lollo and Mille Bolle, designed, respectively, by Doriana and Massimiliano Fuksas, Lorenza Bozzoli and Adriano Rachele, each collection a balance of structural and artisan virtues that employ artistic trends and the newest generation of materials, are chosen by the curators to represent Handmade in Italy during the Brazilian games.
Philadelphia Museum of Art
Flora enters the Philadelphia Museum of Art’s permanent Collection
The exclusive “Design Currents” celebrates the Brazilian designer Zanini De Zanine, voted Designer of the Year during the 2015 Maison et Objet Americas. The Flora collection he designed for Slamp in 2013 takes part in the exhibition, which highlights De Zanine’s ability to combine both artisan and industrial techniques to create functional yet profoundly expressive pieces. The suspension and floor lamps remain in the museum as part of their permanent collection.
Robert Wilson
From Architecture to Theatre: the collaboration with producer Robert Wilson
Slamp’s philosophy has always rested on the pillars of design and architecture, as well as reaching beyond towards art. From the beginning in 1994, the stage had not yet been explored; the almost mystical encounter with Robert Wilson, defined by the New York Times as the world’s foremost avantgarde theatre producer, not only results in the creation of a new collection, but a new chapter in the company’s story. Wilson designs La Traviata for Slamp, a luminous sculpture inspired by his production of the Verdi masterpiece in Linz in 2015. “Without Light There is No Space”; with this motto, La Traviata is launched with the same rigour as a theatrical performance beginning its tour. Two unveilings in Milan’s Triennale Theatre and the Wallpaper Handmade exhibition space during the Fourisalone, an installation in several of Chianti’s wineries for “The Art of the Treasure Hunt”, an auction at The Watermill Center on Long Island (where six prototypes are sold for 120.000€ by world renowned Simon de Pury for the benefit of budding artists), an appearance for Wilson’s 75th birthday in Berlin, as well as in Paris’ Théâtre de la Ville and Athen’s Museo dell’Acropoli, all mark the collection’s dense itinerary.
La Triennale di Milano
From Architecture to Theatre: the collaboration with producer Robert Wilson
Unstoppable dynamism, as well as an ease in communicating with a varying audience, define Slamp’s reign in 2015. In just a few short months, a collaboration with Jacopo Foggini, an artist known for his use of hypnotizing methacrylate creations, opened doors to the Triennale Theatre in Milan during the Salone del Mobile. An ad hoc, four-meter chandelier is constructed as part of a permanent installation during the restoration of historic theatre, designed by Giovanni Muzio in the ‘30s. The week also saw Slamp’s Euroluce “performance”, with a pronounced ratification of the brand’s dialogue with renowned global architects during the biannual decorative lighting fair. Hadid’s collection grew, adding new dimensions and finishes, and a collaboration with Doriana and Massimiliano Fuksas resulted in the magnificent, architectural Chantal and Charlotte, whose rigorous patterns seem to have been plucked directly from the natural world.
Culture first!
From Katalogos to The Moodboarders Magazine: culture first!
The cultural heritage left by Katalogos in the 90’s, united with Slamp’s ritualistic insistence on the motto, Culture First!, planted the seeds of desire in two creatives, bringing a new editorial project to life. Luca Mazza, Slamp’s future creative director, and Erika Martino, External Relations, call upon internationally known design critic Cristina Morozzi to help them establish The Moodboarders Magazine: a bi-weekly online magazine that seeks out creative trends in fashion, architecture and art, with an eye on design in its many facets. Only a year later, having caught the attention of editorial group Rizzoli, 24 issues are scoured for contents to be published in a 335 page hardcopy, available in Italy’s finest bookstores.
Zaha Hadid
Zaha Hadid: Renowned Architects and Slamp
The need for “contaminations” that open new, broader and more provocative horizons, as well as the desire to push the boundaries of design, leads Slamp to engage in a dialogue with Zaha Hadid, the architect leading the deconstructivist movement, winner of the 2004 Pritzker Prize, and named by TIME as one of the 100 most influential people in 2010. At the time, Nigel Coates wrote in his diary; “1st May 2012: I visit Zaha’s office for the first time (when it’s not her birthday party). It has a monastic atmosphere of quiet concentration. Everyone in the room follows her lead. She gives it the thumbs up. Let’s do it!”. In less than a year, research shared by Hadid’s London studio, Slamp’s team in Rome, and Coates’ critical view, lead to the creation of the Avia and Aria, presented to the public for the first time during the 2013 Salone del Mobile. Visiting the exhibition was one of Hadid’s last, cautious public appearances, where she confirmed her desire to continue working with the dynamic, fluid and surprising Slamp team. The chandeliers are a true sign of the brand’s research and development process; the lamps’ Opalflex® revealed a new cutting technique. The same year, they are exhibited in Copenhagen’s Danish Architecture Center, as well as Seoul’s Dongdaemun design Museum.
The 1st Red Dot Design Award
Young talents draw attention: Adriano Rachele and the 1st Red Dot Design Award
During the repositioning of the brand, great attention is directed towards educating a young creative group. Slamp CEO Ziliani’s keen eye for talent scours design and university programs, selecting candidates to undergo rigorous cultural, technical and social training. One of the names that stands out amongst these candidates is Adriano Rachele, who at only 25 years of age, won the Red Dot Award only a year after designing his first collection, Veli. Alongside Slamp’s CEO and the young designer is winner of the Essen prize, Luca Mazza, the brand’s future creative director.
The Company Values
Euroluce: a dynamic performance driven by a new outline of values
Under Coates’ art direction and Ziliani’s open-mindedness, the confirmation of Slamp’s stylistic maturity comes to light during the 2009 Euroluce (the biannual lighting fair inside Milan’s Salone del Mobile). The brand shows up with a new look, a curated narrative dense with details, a renewed identity, a redesigned outline of company values and a plethora of innovative, contemporary products. The Cactus, Aurora, Crazy Diamond and Goccia collections are presented in a circular black velvet tent, with soft and rolling surfaces that invite the spectator to peek through the curtain and take in the interior.
The Stylistic Evolution
A stylistic evolution: from the Swarovski Crystal Palace to Nigel Coates’ Art Direction
The prolific encounter between Slamp’s founder, Roberto Ziliani, and interior designer and heir to the Swiss company, Fiona Swarovski, leads to the brand’s official participation in the 2006 Swarovski Crystal Palace, an ambitious project that celebrates the rich tradition surrounding the chandelier, reinterpreted using Swarovski crystals. The designer assigned to collaborate with Slamp is the British architect and current director of the Royal College of Art’s Architectural department, Nigel Coates, resulting in the revolutionary methacrylate and crystal chandelier Gina, which explores the three-dimensionality achieved through the unusual use of Slamp’s technopolymers. Coates first industrial collection, Slampville, uses a new system of working their materials. Bestsellers Medusa, Ginetta and Fiorella definitively solidify Slamp’s stylistic evolution of decorative interior illumination.
The totem
Mixing materials and the evolution of the totem
Following the international response to the tube, Slamp decides to focus their creative energies on expanding the production of shapes that remain true to the free-standing totem, a lightweight, constant source of illumination that stretches from the ground to the sky. Their goal is to design lamps that are adaptable to both classic and contemporary interiors while never losing sight of the original accessibility and cool spirit that the company prides itself on. The statuary and elegant Bach, the geometric, Brancusi inspired Diamond, and the sensual, feminine Bali collections are brought to life. In the same period, the coexistence between the patented technopolymers and traditional Italian materials is successfully put to the test, including White Bamboo’s use of white leather and Topkapi
Katalogos: half catalogue, half anthology
Slamp has been defined from the beginning by the strong desire to place their lighting products side by side with wide-ranging cultural projects that touch on filmmaking, art, scenography and poetry, bringing the design a touch of non-conventional soul. In order to transmit this image of themselves and their approach to manufacturing, Slamp creates the antithesis of a traditional catalogue entitled Katalogos. Visual anthropologist and language engineer François Zille, Modo’s director Almerico De Angelis, and Studio Alchemia’s graphic designer Walter Garro come together to construct a ‘magazine’. The lamps are cleverly inserted within a series of articulated non-fiction pieces filled with irony, an aphorism that takes on the principal role of moving the message while serving a publication dense with ideas that unite the function of experience to that of manufacturing.
Alessandro Mendini
Alessandro Mendini and the ‘Atelier’ collection
Globally recognized architect, two-time winner of the Compasso d’oro, director of three Italian architectural publications (Modo, Domus and Casabella), and intellectual spearhead of the Italian movement of radical design: Alessandro Mendini brings his mastery to a collection of 13 Slamp Tubes. His Atelier collection calls upon collaborations with international artists and designers, including Aldo Cibic, Anna Gili, Sanchita Ajjampur, Watler Garro and Nanae Umeda. Mendini, the current Art Director for Swatch, curating a collection that takes note of the 90’s graffiti trend, giving it a cool, pop feel.
"Arte" Collection
Slamp is born, and the ‘Arte’ collection debuts
Slamp bursts on to the international scene with the first tube collection, ‘Arte’, entrusted to Cristina Cini di Pianzano, Luciano Ghelli, and Aldo Marchetti. The brand’s close ties to the art world will be a prevalent constant in a large part of the collaborations and collections to come. Being unique, contemporary and decorative are concepts that instantly set the Slamp Tube apart, immediately making the brand recognizable amongst international design companies.
The Debut
Roberto Ziliani’s revolutionary ideas: the Slamp Tube and Opalflex®
Roberto Ziliani, after having worked both as a set designer for luxury Italian fashion brands and a communications consultant for over a decade, decides to create an accessible, cool object that will revolutionize lighting design. Ziliani says, “When I founded Slamp, I wanted to bring something completely new to the design panorama, uniting almost artisan skill with the excellence of industrial production”. To marry the need to innovate with that of creating a suggestive product, Ziliani designs the Slamp Tube, a cylindrical lamp made of two Opalflex® sheets (a flexible, totally unbreakable patented material made of glass crystals and techno-polymers), bent and connected by their edges. The Tube is a blank canvas ready for contemporary graphics and patterns.
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